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Luckily we quickly understood that things you don't do die with you, so we started making short films on weekends, with our limited resources. She wrote. We directed together, and I was in charge of post-production: we made cheap science fiction, gun thriller, romantic terror, absurd comedy, and lots of drama.

ISMA ISSA was who welcomed me under his wing when I had to left the Master. He helped me to keep producing short films, lent me equipment to continue learning on my own, took me as electric in shootings, and as Second Assistant Director to LONDON HEIST (MARK McQUEEN, 2017). If this were not enough ISMAEL ISSA was the first to tell me the magic words "Never stop writing."

Director of Audiovisual

Media & Design

I realized I was dyslexic many years ago, at the time when adults still called us lazy. It was in the language class. 1996. The teacher divided us into groups to do an exercise: "You have to write a story using the beginning, middle, and end technique we have explained." To write?! In a group? They are going to hate me. I am terrible at writing… I was ten years old. I hated to read, and my spelling was awful. However, I loved movies. I watched it... all the time, and in the movies they tell stories, right? So I jumped the scene: "Boys! What if, instead of writing a story, we better make a movie?

 

I don't remember what finally happened with the class exercise, what will remain engraved in my memory for the rest of my life is what we did the following weekend.

 

In those years, my mother, DIANA TESSARI, and her partner, GUILLE MEALLA, had a content producer for cable television. We have a rehearsal room at home, camera, and lighting equipment, and my favorite place: a room lined with a black cloth full of electronic gadgets, monitors, button-packed sound tables, VHS tape recorders, and everything else needed for analogic video editing. All that now fits on a MacBook Pro, thanks to the non-linear editing, when I started playing with video editing, it's needed a huge room... at least in the eyes of a child.

 

The point is that that night at dinner, I asked: "Can some schoolmates come over on Saturday to record a movie?" They looked at each other and said... "Okay"... So the following Saturday the twelve dwarfs knocked on the door... Twelve children between the ages of nine and eleven came up the stairs laden with bags full of costumes, colorful fabrics, and latex masks. We were ready to shoot, but... "Well, what's the story?" the adults asked. Oh come on! We just want to spend the afternoon, start recording! But they had a better idea. We were told that we had two options; They could take the camera out and record while play costumes or "we can make a real movie." We obviously chose to make a real movie, and for the next nine months, one Saturday every fifteen days, we met to work: we spent three months writing the script, three months shooting it, and three months editing it. After the premiere at the RECOLETA CULTURAL CENTER in Buenos Aires, 70% of the boys and girls who made FALSO ENCUBRIMIENTO knew that they were going to dedicate themselves to the cinema.

 

However, I rebelled against my destiny when the youth arrived: fear of being rejected, not being good enough, and failing made me follow other paths.

 

I chose PHILOSOPHY as a way to keep in touch with writing but protecting myself from facing my desire. But life always gives us what we need. During the first month of university, I have two encounters: the first was the discipline of AESTHETICS that FERNANDO CASTRO FLORES taught. The second was my future creative and sentimental partner for more than twelve years, CAROLINA CORVILLO, who had gone to study philosophy for the same reason as me: fear.

 

Luckily we quickly understood that things you don't do die with you, so we started making short films on weekends, with our limited resources. She wrote. We directed together, and I was in charge of post-production: we made cheap science fiction, gun thriller, romantic terror, absurd comedy, and lots of drama.

 

After a few self-taught years, the need to delve a little deeper arose, so I decided to do the FILM EDITING MASTER in SEPTIMA ARS. Although   2009 economy crisis forced me to abandon the Master before finishing, I had time to learn a lot and to meet several colleagues with whom we set up the EL MONO BLANCO a film association with which we produced ADIÓS (LUIS PLAZA, 2012) and DAME UN VERSO (FACUNDO TOSSO and CAROLINA CORVILLO, 2012).

 

It was also in the Master, where I met my first teacher with capital letters, ISMAEL ISSA. At the moment, he was a Final Cut teacher who and also a producer and cinematographer for, among others, STANLEY A MAN OF VARIETY (STEPHEN COOKSON, 2016). He was who welcomed me under his wing when I had to left the Master. He helped me to keep producing short films, lent me equipment to continue learning on my own, took me as electric in shootings, and as Second Assistant Director to LONDON HEIST (MARK McQUEEN, 2017). If this were not enough ISMAEL ISSA was the first to tell me the magic words "Never stop writing."

 

Meanwhile, I alternated my work in the audiovisual department of LA CHUICE, an advertising agency in Madrid. I also work at EL JOVENCITO HITCHCOCK, a film workshop for boys and girls, which was addressed to the relatives of the members of the ACADEMY OF ARTS CINEMATOGRAPHIC SCIENCES OF SPAIN. As happened in my childhood, together with GUILLE MALLA and CAROLINA CORVILLO, we tackled the production of LA EXCURSIÓN and EXIT, in which we accompanied the children in the scriptwriting, filming, and post-production throughout the school year. Besides, we alternated the theoretical and practical parts with visits to professionals in the sector.

 

One of these visits was a meeting with the film editor ALEJANDRO LÁZARO whom he admired for his work in LOS CRÍMENES DE OXFORD (ÁLEX DE LA IGLESIA, 2008). I've taken advantage of introducing myself and asking him to accept me as an assistant for his next project. Months passed but he finally called me to lend a hand to his assistant in the editing of the stolen TV movie HISTORIAS ROBADAS (BELÉN MACÍAS, 2012). In addition to being ALEJANDRO LÁZARO's assistant, who was editing the first chapter, I also was the assistant of TERESA FONT [PAIN AND GLORY - PEDRO ALMODÓVAR, 2019] who edited the second one.

 

ALEJANDRO LÁZARO kept calling me to collaborate on different projects. So I ended up taking charge of the color correction of the documentary A COMMON ENEMY (JAIME OTERO, 2013) and of a FORD advertisement. Also, it was he who put me in touch with my next sensei: BRIAN HALLETT.

 

With BRIAN HALLETT I started as a photography assistant in the photographic production of the Solidarity Catalog of CHOCRÓN JOYEROS: TEN PEOPLE 10.  Over the years I ended up being the audiovisual editor of most of the videos I produced: spots, branded content, interviews , making of and micro-documentaries for clients such as CARTIER, TUK-TUK, IE UNIVERSITY, CASA DECOR or MOVISTAR.

 

In the meantime, we were still making short films, but we wanted to carry out a larger project, a real cover letter. So we launched a crowdfunding to finance the production of a dark and passionate script that CAROLINA CORVILLO had written about the problematic relationship between a sculptor, his model, and his work that ended up being called DENTRO (FACUNDO TOSSO, 2018). Thanks to a well-worked marketing campaign and the help of many, many people, we managed to get no less than  7,000€ to produce the short film, but it wasn't until all my old teachers (and some new ones) reappeared in my life that the work did not have the support it needed. Thus, ISMAEL ISSA was in charge of photography, ALEJANDRO LÁZARO and CLARA M. MALAGELADA of the film editing, IGNACIO FALCÓN of the score, CECILIO CHAVES of the production direction, RUBÉN ALGARRA of the VFX, RITA M MON and DANIEL BARRIO from the artistic direction, FITO DELLIBARDA of FX makeup, among so many others that made it possible for the storyboards that I had designed with EDUARDO GUTIÉRREZ to end up projected in the room of the SPANISH CINEMA ACADEMY.

 

Thanks to this I had the opportunity to meet many people who have been opening doors for me and helping me to continue growing. In recent years, I worked as a video editor for platforms such as DAZN and OLYMPIC CHANNEL during the past OLYMPIC GAMES OF PYEONGCHANG 2018, BUENOS AIRES 2018 and LAUSANNE 2020.

 

Additionally, I received another call from my former sensei ALEJANDRO LÁZARO to be part of the foundation of AMAE (ASSOCIATION OF AUDIOVISUAL MONTADORES OF SPAIN). Now I am a member of the board as the secretary and part of the Culture and Audiovisual committees for whom I co-produced and directed the two editions of the #GOYA_MONTAJE, a round table with the GOYA nominees for best editing of the year 2019 and 2020. Also, for AMAE, along with several members of the association, we are producing a documentary about the great masters of Spanish Film Editing throughout the last sixty years. A project that is, for me, a way of giving something back to this discipline that has given me so much.

 

However, although I have touched many sticks in my career, some that I have not mentioned, such as graphic design and painting, I am clear that the engine of my life is to deepen the human condition. Longing for truth and the acceptance of the wound offers us a mirror in which to look at ourselves, and that is why a few years ago, I decided to accept my desire without reservation to follow my vocation call and continue learning what a story is. So I decided to focus my career on the figure of screenwriter-director, and in recent years I have resolved to produce my audiovisual projects and develop ideas and storylines for films and series for third parties such as EKIYOO MEDIA together with DAVID V. MORA.

 

This leads me to make a final reflection: When accepting a Sensei there is one thing that I value above all others: SINCERITY. Working with DAVID V. MORA these past four years, I have learned to value this as one of the most important gifts a Sensei can give you. Countless times he has told me "you know that when I love something, I love it and I tell you, but I do not like this". Sincerity, together with a way of seeing the world that is in harmony with mine, means that, although I initially resisted, I always consider his advice as a test of humility and an opportunity to do better, to grow stronger. This is how, after several months of coming and going with proposals, ideas, and arguments, one of the several projects that we are developing from EKIYOO MEDIA manifested itself before us. A biographical miniseries (HUMANITÄT) that tells the story of a teacher from whom I am learning a lot, with whom I share the persistent desire to "know the truth that gives meaning and reason to man, to the mystery that he contains."